The Organ Magazine www.theorganmag.com
February 2001
Highlighting
the work of a father and son, this disc brings to light some 17th
century music which is at once appealing, exciting and astonishing.
Delphin Strungk was born in 1601, and lived through most of that
century, dying in 1694. His
son Nicolaus Adam was rather less long lived, born in 1640 and dying just
six years after his father. Delphin
lived and worked in Braunschweig all his live, whilst his son was widely
travelled and held jobs throughout Germany.
As with their different lives there music is distinct, the
father’s generally based around the church, whilst the son’s, often
written in open score, as favoured by Frescobaldi and southern composers,
explores many of the Italian contrapuntal genres.
The
magnificent four manual Schnitger organ in the Ludgerikirche in Norden has
been chosen as a companion for the Strungk’s music, a choice which soon
proves ideal. As an organ
that combines absolute brilliance and power with kaleidoscopic colour it
is more than able to do full justice to the capricci, ricerari and chorale
settings of the two Strungk composers – indeed, it is perhaps fair to
say that it is the music which fails to fully explore this stunning
instrument.
Seven
of Nicolaus Adam’s nine extant works are presented, comprising five
capricci and two ricercari. All
are interesting works, but particular mention must go to the lengthy Ricercar sopra la morte della mia carissima Madre, written to the
memory of his recently deceased mother.
A simple theme presented on the Rückpositiv Principal 8 is
answered by an exact inversion, and the strands interweave effortlessly.
Simple music, but beautiful nonetheless.
Delphin’s Magnificat noni
toni is altogether much more extrovert and varied, and its five verses
present the well known theme in a number of guises.
Astonishing originality is shown in the Toccata
ad manuale duplex, which, away from the influence – and restriction
– of a chorale melody, presents musical experiment after musical
experiment. Chromaticism, echo and imitation maintain interest throughout
the work’s sixteen minute duration, based throughout in the form of an
accompanied decorated solo.
Lovers
of the North German organ and its music will not fail to be moved by this
delightful collection of unknown music.
David Yearsley’s use of Norden’s Schnitger is informed and
correct, and there can surely be no better advocate for the Strungk's
music. Highly recommended.
